Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Gareebon ka hissa gareebon ko de do

Posted on: February 12, 2020


This article is written by Arunkumar Deshmukh, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4226 Post No. : 15432

Today’s song is from a comedy musical film – Laadli-49.

During the period 1947 to 1950, there was a spate of comedy and musical films.It was also in this period that Naushad and C Ramchandra played havoc with their music. Films like Bela,Daak Bungla, Do Bhai, Jungle mein mangal, Natak, Shadi se pehle,Shehnai, Gunsundari, Hip Hip Hurray, Khidki, Mera Munna, Suhag raat, Andaz, Badi Behan, barsaat, Ek this ladki, Mahal, Namoona and Patanga stirred the HFM from upside down and then up again !

For all other MDs, this period played a challenge to come up to their highest and best level to compete. MDs like Anil Biswas handled the situation with ease, with his musicals like Laadli and Lajawab. Film Laadli-49 was made by Variety pictures – owned by Anil Biswas and his wife Ashalata (Mehrunnisa Bhagat). It was directed by an old friend of Anil Biswas – J P Advani. However, he directed only 3 films of Anil Biswas – Veena-48, Laadli-49 and Lajawab-50.

Jagatrai Pesumal Advani was born on 17-5-1903 in Hyderabad ( Sindh ). After graduating, he studied film making in Germany in the 1920s. After coming back to India, he joined Mohan Bhavnani – a big gun in those days- as his assistant. His first film as a Director was Heer Ranjha-1931. He shifted to Saroj Movietone in 1934 and then to Karachi to work for Golden Eagle Company. He was considered an expert who could handle the Heroines at his will.

He directed about 30 films, including a Hindi/Punjabi bilingual film Sassi-Punnu-46. His Filmography is- 1931: Heer Ranjha; 1933: Zehar-e-Ishq; 1934: Afghan Abla; Dilara; Gafil Musafir; Johar-e-Shamsheer; Tilasmi Talwar; Vasantsena; Flashing Sword; 1935: Bahar-e- Sulemani; Farebi Duniya; Shah Behram; 1936: Elaan-e-Jung; Shokh Dilruba; Sipahsalaar; 1937: Saqi; Insaaf; 1939: Dekha Jayega; 1940: Dharma Bandhan; Sneh Bandhan; 1941: Shehzadi; 1942: Suhagan; 1943: Sahara; 1946: Sassi Punnu; 1948: Veena; 1949: Laadli; 1950: Wafaa; Lajawaab; 1952: Saloni; 1954: Danka; 1955: Hasina.

The cast of the film was Sulochana Chaterjee, Jairaj, Kuldip Kaur, Ramesh Sinha, Randhir, Narbada Shankar and others. There was a coincidence that 2 Sulochanas acted in this film. Along with Heroine Sulochana Chaterjee, the old timer Sulochana Sr. (Ruby Myers) also acted in a side role. Born in Chandranagar, Sulochana Chatterjee was the daughter of a military man and the family, five girls, including the late Kamla Chatterjee ( she looked like Geeta Bali, and was Kidar Sharma’s wife), and one boy, used to travel along with their parents to wherever their father was transferred.
From Calcutta they moved to Jabalpore and it was here that Sulochana did her school­ing. She also took an active part in school dramatics. After some time the family was transferred to Bombay and here her younger sister, Kamla, was spotted by Sohrab Modi, a friend of their father’s, and given a role as a child star in Modi’s picture Jailor (1938).

Once Sulochana happened to visit the sets one day and after watching her sister at work, She was offered a part in Harishchandra Pictures’ “Aina”-44, which she accepted. She was co-starred with Trilok Kapoor. She starred in scores of films after that, among them the comedy “Ladli”-50, in which she appeared with Jairaj, and “Grahasti”-48 which was a memor­able hit and in which she play­ed with Yakub and Masood.

Sulochana acted in two Bengali pictures “Apanaela”, produced by Saroj Mukerjee and directed by Benoy Banerjee with Pradeep Kumar as her leading man, and Benoy Banerjee’s “Minoti” in which she shared stellar honors with Smriti Biswas and Paresh Banerjee. Her well known films are Chaitanya Mahaprabhu-53, Rami Dhoban-53, Shahjehan-46, Veena-48, Nav Durga-53, Jagte Raho-56, Jis desh mein Gaqnga behti hai-60, Sarswatichandra-68 etc.

In all she acted in 119 films. Her first film was Shobha-42 and last film was Shabas Daddy-79. After retirement, she settled in Bombay. Sulochana Chatterjee died on 30-8-1999.

Her favorite pastime, was playing with her sister’s children. She cooked, too, and knitted off and on. She was fond of English pictures , liked Ingrid Bergman and Gregory Peck and comedies. Sulochana could play Bad­minton and drove a car. A gifted linguist, she knew Bengali, her mother tongue, Hindi, English, Marathi, Punjabi, Kutchi and Guajarati. She spoke them all fluently.

Film Laadli was a comedy musical. There were 5 Lyricists and the MD was Anil Biswas. In Hindi film industry,right from 1931 onwards,many composers from Bengal came to Bombay to try their luck,but only a few could make their name here. There was a host of small time Bangla composers (some of them were Big names in Bengal) came to Bombay for a while,did 2-3 films and went back. Few of them were Shoolpani mukherjee, S P Mukherjee, V V Ganguly, Niren Lahiri, Shivram Ghosh, A C Biswas, Bhishmadev Chatterjee, Sushant Banerjee, Robin Chaterjee, Naresh Bhattacharya etc.

Besides these composers,there were some less successful composers from Bengal, in Bombay, like Ashok Ghosh, Pannalal Ghosh, Robin Banerjee, Hiren Bose, Shyamal Mitra, Arunkumar Mukherjee and Manas Mukherjee. Their major problem was Language and cultural difference.

There were 4 major composers from Bengal,who succeeded here and etched their names in the HFM history. I call them A grade. They all operated at the same time during the Golden Age period. Two composers came from East Bengal-Anil Biswas and S D Burman. Two composers came from West Bengal-Hemant Kumar and Salil Chaudhari.

Anil Biswas was the first major composer from Bengal to start his career in Bombay in 1935, at the age of just 21 years, whereas S D Burman was the oldest having started his career in Bombay in 1946, at the age of 40 years ! The longest tenure was that of Salil Chaudhari,but his song total is the lowest, with an average of about 5 songs per film.This is much lower than the average of 8+ and 9 of the others. This may be, because in later part of his career Salil da gave music to many parallel films which had minimum songs.

The two senior composers were from the East Bengal and the two junior composers were from the West Bengal. The styles of these two groups were different because of the different pattern of Eastern and Western Bangla music. All four depended and used heavily from the folk tunes and Bangla songs,from their respective regions. Anil Biswas and Burman da drew heavily from the Eastern Bangla folk tunes and that is why sometimes their music had similarities.

A case in point is song – “Sundari O sundari” from Lajawab-50. It was based on a folk tune of East Bengal. By coincidence S D Burman too used the same tune and same Mukhda for his Bangla film, “Samar’-50. Not only this,S D Burman again used the same tune for a song in film ‘Munimji”-55 ( Anadi re Anadi).
Anil Biswas was hailed as one of the most original,revolutionary and experimental composer,even dubbed as “The Bhishma Pitamaha”of HFM.

He was original. When Anil Biswas came on the scene in the mid 30s, the Parsee Theatre music,Marathi Natya sangeet and Gujarati drama and Lok kala Sangeet was being followed in film music. He decided to change this pattern and used Robindra Sangeet and Folk tunes for his songs. He was Revolutionary because he introduced western instruments in his music as a routine,which no one had thought of,so far. He was experimental,because he tried a variety of singers.

Those days,when playback was not yet common,non singers sang songs and it was a terrible task to make them sing properly. Anil Biswas tried the First ever playback,in Bombay,in his film “Mahageet”-37,singing the playback song himself to be shot on Hiren Bose in the film.

In a span of 30 years and in his 86 films having 777 songs,he used 76 singers. Among his singers Lata stands at First rank with 120 songs. The second place is shared by Surendra and Meena Kapoor( naturally), with 44 songs. Next name is that of Anil Biswas himself,with 43 songs.

Going through the list of singers,one finds very unknown names like Omkar, Kamlakar, Kokila, Gajadhar, D.Manek, Tarachand, Devaskar, Madhav kale, Yusuf Effendi, Solanki and Swapna Sen. Except Madhav Kale and Yusuf Effendi,I have never heard the other names myself,nor have I read about them anywhere. It is likely that these singers were from the early era and his earliest films. He himself first sang in ‘Dharam ki Devi’-35 and his last song was in ‘Sautela Bhai’-62.

Today’s song is the 6th song of this film to be discussed here. The film had an all time immortal song by the Anil Biswas – Lata duo…”Tumhare bulane ko jee chahata hai….” Such fine songs are now only in memory. Today’s song is also a good song. This is a Chorus song. Anil Biswas was particularly fond of Chorus songs and his no film was complete without at least one chorus song. Now, enjoy this chorus song….

( My thanks to Cineplot, Encyclopedia of Indian Cinema and History of Indian Film Music, for information used herein)


Song-Gareebon ka hissa gareebon ko de do (Laadli)(1949) Singer-Lata, Lyrics- S H Bihari, MD-Anil Biswas
Chorus

Lyrics

gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do

gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do

ameeron o o
ameeron hamen sookhi roti hi de do o o
ameeron hamen sookhi roti hi de do o o
gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do
o o o o
o o o o

jo pahle thhi haalat wahi hai hamaari ee ee
ye pahle bhi bhookhe hain ab bhi bhikhaari
ye pahle bhi bhookhe hain ab bhi bhikhaari
hamesha se hain haath phaile huye do o o
hamesha se hain haath phaile huye do o o
gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do
o o o o
o o o o

ye oonchi imaarat ye resham ke kapde ae ae
na kutiya hi hamko na khaadi ke tukde
na kutiya hi hamko na khaadi ke tukde
hamen bhi to apna badan dhaanpne do o o
hamen bhi to apna badan dhaanpne do o o
gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do
o o o o
o o o o

agar rookhi sookhi ye khaa kar bachenge
to kal ko ye Gandhi Jawahir banenge
agar rookhi sookhi ye khaa kar bachenge
to kal ko ye Gandhi Jawahir banenge
inhen sirf jeene ka mauka hi de do o o
inhen sirf jeene ka mauka hi de do o o
gareebon ka hissa gareebon ko de do
gareebon ko de do
gareebon ko de do

ameeron o (gareebon ko de do
gareebon ko de do
)
ameeron o (gareebon ko de do
gareebon ko de do
)
ameeron o (gareebon ko de do
gareebon ko de do
)

3 Responses to "Gareebon ka hissa gareebon ko de do"

AUDIO

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Thanks Arun ji
for the information about Sulochana Chatterjee(sometimes her name was spelt as Salochana chatterjee), I remember her (in 1972 Piya Ka Ghar(rajshree productions))role as Agha`s Wife
and in BABAR(1960/1962)
You can see her in followin video link at 5:02

in Doli(1969) she acted as wife of Raj Mehra(in Doli, Both Sulochana Latkar and Sulochana Chatterjee were there)

Like

Thank you, Prakash ji.
-AD

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